About this Project

Womanhouse.net is a website, home, and resource for the historically significant Womanhouse, a 1972 site specific work, conceived of by Paula Harper and led by co-founders of the Cal Arts Feminist Art Program, Judy Chicago and Miriam Schapiro.

In 2009 artist-curators Suzy Spence and Leslie Brack researched and built this website on the occasion of their tribute exhibition, The Mood Back Home, an Exhibition inspired by Womanhouse at Momenta Art in Brooklyn. They received 501c3 status at that time, through New York Foundation for the Arts (NYFA). In 2014 its organizers improved the multi-media site to present archival material as yet unseen including video performances from the original project. This site is maintained on a voluntary basis. Womanhouse.net is intended to be a resource and a teaching tool, not a scholarly archive. The current version of the website presents users with photographs, videos, texts, and portions of the original exhibition catalog designed by Sheila de Bretteville, with image permissions from the California Institute of the Arts. Individual artists have also generously shared their personal archives.

Womanhouse (30 January - 28 February 1972) is remembered for its site-specific domestic installations in which artists responded to every room of a Los Angeles house they collectively renovated and occupied. Chicago, Schapiro, their CalArts students, and women artists from the local community all participated. Their efforts yielded early examples of installation art, pedagogical strategies like consciousness raising, and a number of performance pieces including Faith Wilding’s Waiting, and Chicago’s Cock and Cunt Play.

Almost all of the art from Womanhouse was destroyed, stolen, or poorly documented, yet it remains an iconic work from the Feminist Art movement and is a crucial milestone in the intellectual progression between the Fresno Feminist Art Program (1970-1971) at Fresno State College and the Woman’s Building, L.A. (1973-1991). Like these sister projects Womanhouse symbolized an important break with business as usual, disrupting the prevailing narratives and practices of the art world whose exclusion of women financially and critically made political action an urgent necessity.